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The Museum Age
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The Loom of Art
Donated by Sydney Harris.
Baroque and Rococo
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O Museu Nacional da Ciência e da Técnica: no contexto da evolução da Museologia das Ciências: da ideia do Museu à sua oficialização (1971-1976)
Este trabalho resulta de uma investigação em Museologia e Património Cultural sobre a concetualização do Museu Nacional da Ciência e da Técnica (1971-1976). Pretende-se dar a conhecer o contexto em que emerge o Museu, as suas influências, a sua estrutura, a sua projeção e dificuldade de reconhecimento no seio da comunidade museológica. Este Museu foi pensado e construído por Mário Silva, eminente físico conimbricense, que se doutorou com a Nobel Madame Marie Curie, no início do século XX. O único Museu nacional dedicado à ciência e à tecnologia, classificado na chamada “primeira geração”, foi impulsionado sob a égide do então Ministro da Educação Nacional, o Pro...
Impressionism
Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wid...
Museum Masters
Alexander brings to life the stories of twelve ambitious leaders from the United States and Europe who helped shape the future of the museum world.
Museums in Motion
This primary text on museum history examines the rise of museums since the eighteenth century in the fields of science, art, and history.
The History of World Sculpture
Survey from prehistory to the present day.
Our Beautiful, Dry, and Distant Texts
Elkins argues that writing is what art historians produce, and, whether such writing is a transparent vehicle for the transmission of facts or an embattled forum for the rehearsal of institutional relations and constructions of history, it is an expressive medium, with the capacity for emotion and reflection. Therefore, it needs to be taken seriously for its own sake: it is the testament of art history and of individual historians, and it is only weakened and slighted by versions of history that imagine it either as uncontrolled dissemination or as objective discovery and reporting.
